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A V 



DRAMATIC GAMES 
AND DANCES 



DRAMATIC GAMES AND DANCES 
FOR LITTLE CHILDREN 



BY 







CAROLINE 


CRAWFORD 






Author of 


"Folk Dances and Games." 


THE 


MUSIC 






ILLUSTRATIONS 


BY 






BY 


Elizabeth 


Rose 


Fogg 




Katherine Kellogg 




New York 
THE A. S. BARNES COMPANY 

1914 






COPYRIGfiT, 1914, 
BY 

THE A. S. BARNES COMPANY 






18 1914 



> Ci, A 3 7 6 3 4 5 



THE EVOLUTION OF THE DRAMATIC GAME AS AN ART FORM 

In the introduction of games as educational material, there has been, until quite 
recently, no serious study of the different kinds of games so far as meaning, form of ex- 
pression, and use are concerned. In all the grades above the kindergarten, most of the 
games have been introduced through the gymnasium, as new modes of exercise. For- 
tunately, the so-called dramatic game does not offer either the kind or amount of activity 
to make it generally attractive to the teachers who must give "so much exercise in fifteen 
minutes." The result has been that the games of skill have gone into the gymnasium 
as appropriate material, while the dramatic games have been discarded. Almost the 
only exception to this has been in the case of the folk-dances, and the unfortunate thing 
in their gymnastic introduction, is the tendency to take the more common and vulgar 
forms, because the standard of judgment is not for the thought expressed but for the 
"motor activity." 

As long as the dance was a decadent art, it could not be expected that it would at 
first be given serious attention as an art-form. Education is, however, beginning to follow 
the trend of the creative thought of the present, and the interest in the three united arts, — 
the dance, music, and literature will cause them to develop, educationally, through their 
proper channels and in their related forms. 

The earlier classifications of the dramatic games have been: — the form or manner 
of playing, the subject of the game, and the kinds of exercise for the body. Just to imagine 
studying dramatic literature under such an assortment of topics reveals the situation in 
which we find ourselves, educationally, in attempting to reinstate these earlier arts. 
Under the third heading — exercise of the body, the prize would surely go to "comic" opera 
because there is so much "motor activity" in that form. In attempting to present this 
small collection of dramatic games and dances built on another classification and for 
another purpose, there are several important points to be noted before the art-forms of 
the little child will have much significance for us. 

So long a(S we judged the child's art-product by adult standards, we were inclined to 
say that the little child was "artless." Not until we hunted out the beginnings of highly 
evolved activities did we realize that the child is an artist at an early period of life. His 
constructive tendencies lead him to build in forms which differ from the most complex 
arts, in degree only. When we study what actions he puts together to build his plots; 
how this plot is "whole and complete" out of his experience; how yesterday's plot may not 
satisfy him today, because a new fact must be added to the older group, even though all 
the relations have to be changed to do it, we find that he is not far away from what we call 
a technical study of plot making. 

But the signs and symbols which represent these actions that he relates in the plot 

V. 



VI. 

are somewhat different from our developed forms. A little child's language for artistic 
construction is a composite. It is made up of actions, tones, words. Sometimes the 
three forms are very clear and definite, but usually they are fragments put together as 
best they serve the purpose. The important thing is that children begin relating, organ- 
izing, composing their experiences into wholes long before the complex symbols we adults 
use, are mastered. The first plots are told with the actions that accompanied the experi- 
ence; soon, however, the child uses only the emphatic or vivid parts of such acts; and he 
accompanies this gesture or pantomimic action with all the tones and words he can get; 
and uses objects such as tally-sticks to help him keep the incidents in mind. 

But how does he relate these experiences into wholes? Is he, as some writers on 
play contend, quite free in his world of relationships, or does he experiment to find ways — 
laws that are those of all art-form? 

When we study the principles of artistic composition, we find that children are 
constantly experimenting in the search for and the arrangement of principal and subordi- 
nate parts. A child who is working intensely on some plot, will force his arrangement on 
even unwilling subjects, so great is his desire to play the story. If one questions whether 
children really recognize the principal part it is only necessary to watch the members of a 
group struggle for the essential character. Later on, after repeated trials, that same 
group will choose the best child for the story without hesitation. These are factors of 
artistic structure and judgment as definite as those of a more developed period of literary 
construction. 

Even as the arrangement of the forces is found to follow the principles of construc- 
tion, so also in the movement of the forces in a plot, we find that children build toward 
very definite climaxes, that they use the factors of repetition and contrast to fit the feeling 
they have of the way things ought to go. Sometimes we undoubtedly judge the repetition 
of a child's play as perfunctory, when out of his experience, it is truly cumulative in char- 
acter. It is true that sometimes the situation is too much for him, and he loses the thread 
of the storj^, but even grown-ups do that and become monotonous repeaters. In his use 
of contrasting elements, he plays his opposites with the keenest delight, and many times 
with a vivid consciousness of humor. 

The arrangement of parts, and the movement toward climax in the plot are more 
or less crude, more or less definite in form but are ever evolving toward more definite and 
more complex types. The use of so much of this experience and so much of that, this 
degree of intensity of expression and that amount of time given to it, make up the rhythms 
of composition. Sometimes the child's compositions are worthy artistic productions, 
sometimes they have no value artistically, but are, of course, invaluable psychologically. 

Many of the games given in this collection are taken directly from children's plots 
and stories. Some have been brought into more definite form, and some remain, with- 
out the music, in the form that the child-artist left them. "Jack and Jill" are just our- 
selves, for we have all fallen down on our way to school. "Hey! Diddle! Diddle!" 
is a child's bacchanal — evervbody is wild for a moment, and "The Old Woman Who 



VII. 

Lived in a Shoe" represents an incident that sometimes happens both at home and at 
school. We find the plots becoming more complex in form and in characterization in 
"The Little Soldier," "This is the Way My Dolly Walks," and "The Little Leaves." 
The two old games "Nuts in May," and "Three Little Ships" are given to illustrate the 
development of the principle of contrast as it divides the circle into lines placed over 
against each other in the one and the antiphonal chorus with question and answer in the 
other. 

"Follow My Leader" is one of the simplest forms of constructing by cumulative 
repetition. "Playing Horses" is another simple form, but it has a more definite idea 
as the principal part for representation. Such games are soon exhausted by the plot- 
maker and then more difficult things to do are devised as in "Away We All Go," and 
"The Thread." Such games often lose the elements of representation and become 
games of skill. 

In "The Little Ducks," "I'm Very, Very Tall," "Hide and Seek," "Look Out!" 
"The Horses are Coming," the element of contrast is the chief means of relating experi- 
ences. Children begin putting together experiences which relate up and down, here and 
away, coming and going, etc., very early. "Peek-a-boo" is a child's way of saying — "now 
I'm here, and now I'm away." 

The games that are given to illustrate the plots of "Mother Goose" are not to be 
taken too literally. If Mother Goose is interesting to children it is because the char- 
acters are all types that represent their own possible experiences. 

The plays and dances that are related to literature in use in the schools are sugges- 
tions of the kinds of dance and play that have artistic value. Some of the dances suggest 
mood only; like the "Firefly Dance" and "Leaves at Play." Others give the epic as well 
as the lyric elements of the story. " The Lobster Quadrille" is such a burlesque as children 
often construct if they have the chance. 

The following is the full list of the plays and dances directly connected with the 
literature used in the majority of schools. 

Mother Goose — Jack and Jill. 

The Old Woman. 
The Pussy Cat. 
Little Miss Muffett. 
Hey! Diddle! Diddle! 

Hiawatha — Firefly Dance. 
Lullaby. 

Uncle Remus — The Little Rabbits. 

Old Folk and Fairy Tales — The Sleeping Beauty. 

The Shoemaker. 

The Adventures of a Brownie — The Brownie and the Cherry-tree. 

Alice in Wonderland — The Lobster Quadrille. 

Pinnochio — The Marionettes Dance. 



VIII. 

Poems — I Have a Little Shadow — Shadow Dance. 
Leaves at Play — The Dancing Leaves. 

Acknowledgment is due Elizabeth Rose Fogg for her charming and artistic music. 
Such work means hours given in the laboratory of child-life. 

For the two games, "The Gingerbread Man" and "The Thread" I am indebted to 
teachers in my own classes 

It is hoped that this little Dook may ,je suggestive to the teacher and that it may 
help to give the child-artist a better chance in modern education. 

Caroline Crawford. 
New York, May, 1914. 



CONTENTS. 

GRADE PAGE 

Away We All Go Kindergarten, First, Second 4 

Brownie and the Cherry Tree, The Second Third 75 

Dance of the Marionettes, A Second, Third 58 

Firefly Dance First) Second 50 

Follow My Leader Kindergarten 2 

Gingerbread Man, The Kindergarten, First, Second 42 

Hide and Seek Kindergarten 20 

Horses Are Coming, The Kindergarten 12 

Hey! Diddle! Diddle Kindergarten 30 

I'm Very, Very Tall Kindergarten 18 

Jack and Jill Kindergarten 26 

Lambkins Gambol on the Green Grass, The Second, Third 56 

Leaves Are Green, The Kindergarten 44 

Leaves at Play Second, Third 48 

Little Birds, The Kindergarten 16 

Little Ducks, The Kindergarten 14 

Little Leaves, The Kindergarten, First 46 

Little Miss Muffett Kindergarten 32 

Little Rabbits, The Second, Third 61 

Little Soldier, The Kindergarten, First 8 

Lobster Quadrille, The . Second, Third 65 

Look Out! Kindergarten, First 22 

Lullaby, From "Hiawatha" Kindergarten, First 52 

Nuts In May First, Second 36 

Old Woman Who Lived in a Shoe, The Kindergarten, First 34 

Playing Horse Kindergarten 11 

Playing Soldier Kindergarten 10 

Pussy Cat and the Little Mouse, The Kindergarten 28 

Shadow Dance, A ■ First, Second 54 

Shoemaker and the Elves, The First, Second 69 

Sleeping Beauty, The Kindergarten, First. 40 

This is the Way My Dolly Walks Kindergarten, First 24 

Thread Follows the Needle, The Kindergarten, First 6 

Three Little Ships First, Second, Third 38 



IX. 



DRAMATIC GAMES 
AND DANCES 




HIS is one of the simplest forms of playing the game. During the 
first four measures, the children walk, gradually accelerating in speed 
up to the fifth measure, when they run. At the ninth measure, they 
turn around and face in the opposite direction and the game begins 
anew, preferably with another leader. 

"Follow My Leader" requires a frequent change of leader to be 
an interesting game. Each succeeding leader should add something 
new to the game until a climax is reached. But when it is reached the play should stop 
at once. We often see this game "peter out" because the teacher fails to realize that 
when repetition loses its cumulative character the interest flags and the game is overdone 
— an anti-climax has developed. 




FOLLOW MY LEADER. 



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AWAY WE ALL GO. 

We'll follow our leader and away we all go, 
Away we all go, away we all go. 
We '11 follow our leader and away we all go, 
Far away, far away we '11 go ! 

The children are in a circle with half of them facing outward and the other half 
facing toward the center. Both lines take one step backward which places them all in 
the position illustrated. They join hands across as indicated by the dotted lines and the 



leader at the head of the line passes under the arch made by the joined hands with the 
players all following her. This will take the circle once around in passing under the arch. 
They may now turn and follow the leader under again, going in the opposite direction, 
or they may dance around the circle to finish the game. 

The game is a form of follow my leader with a more complex situation. The vivid 
dramatic expression comes when the arch is successfully passed and the children dance 
the joy of the doing. This is the chorus, while the first part is the episode. If the children 
say, "Let's do it again," it will grow with repetition. If the teacher knows how to 
develop intensity and speed in a plot built by cumulative repetition, the game will develop 
itself. 



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THE THREAD FOLLOWS THE NEEDLE. 



The thread follows the needle, 

The thread follows the needle. 

In and out the needle goes, 

As mother mends the children 'a clothes. 

The children form in lines as in the diagram: — 



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They join hands and number one stands in place. The lines then start with number 
ten leading and pass around under the arms of numbers one and two as in (a) 




Numbers one and two then face in the opposite direction as the line passes under, 
and as they keep hands joined, they stand with the arms crossed across the chest forming 
a chain stitch with their crossed arms. The line continues around and the next time passes 
between numbers two and three (b). This continues until all the players in all the lines 
are turned in the opposite direction with arms all crossed in front and all sewed together. 
At a signal or a chord on the piano, the children turn under arms unravelling the chain, 
and the game may repeat. 

Dramatically, this game is a development of the "Follow My Leader" type. If 
repeated several times it will accelerate in speed and emphasis. 



THE THREAD FOLLOWS THE NEEDLE. 

Elizabeth Rose Fogg. 



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THE TITTLE SOLDIER 







HE children form for the play during the first two measures of music. 
They march around the room for seven measures, then right about face 
(eighth measure) and march in the opposite direction. When the retreat 
begins at the ninth measure, they break ranks and go to the places from 
which they started. 

"The Little Soldier" is a development of the idea in the game "Playing 
Soldier." In that the things which the child himself sees as important 
are related in the plot. But in this plot certain things that a soldier is 
always ready to do are the essential parts related. If the bugle calls, he 
must be ready to go to march, and he must get there on time. He goes 

out on his duty and he comes back again. At the retreat he breaks ranks and goes away. 

Children are interested in playing this after they have been told some of the important 

events in a soldier 's life. 




THE LITTLE SOLDIER. 



.Bugle Call. 



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10 



PLAYING SOLDIER. 

The children are in c circle. They all march very stiffly and proudly for six measures. 
They then turn toward the center and salute gravely and slowly. The music repeats as 
they turn and march again. The game may be repeated several times to its climax. 

Two things seem most prominent in the child's idea of soldier. The marching to a 
drum and the emphatic salute. These two things seem to form a starting point for the 
soldier idea in the mind of a little child. 



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11 



PLAYING HORSE. 



The children are in a circle. They start off galloping and go faster and faster during 
eleven measures, then they reign in with great prancing on the twelfth measure. 

The game is a fine example, in its elemental form, of cumulative repetition to a climax. 
It can be played in several ways. The horses go somewhere and arrive in great style. 
Fire horses go like this — perhaps that's one reason why children so love to follow them 
until they stop short from high speed. Several children can play horse and take people 
out to ride. Several really good forms ought to develop from this very simple one. 



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THE HORSES ARE COMING. 



If the game is played in a circle, no description is necessary with the very well-marked 
music. But it is much more interesting after the children have played such games as this, 
to divide the class into groups, and let them go in these several ways. The first group 
goes trotting by, the next ambling, the third group canters and the fourth gallops along 
and then off out of sight. The music can repeat from the fourteenth measure and all the 
groups go galloping past and away. 



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14 




HE children may play in a circle or they may follow a leader who goes 

where she wishes. They all walk during the first three and one-half 

measures using their arms down by their sides as a duck uses its legs. 

At the last two notes of the fourth measure, they stop, duck their 

heads down in front and swing their arms up behind them as a duck 

swings its legs. The music repeats and they start again. 

The teacher must watch to see that children never repeat such games beyond the 

climax in feeling. It is easy to see in the faces of little children how long repetition is 

really cumulative. The artist never repeats mechanically. 




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16 



THE LITTLE BIRDS. 



The children form in a circle with four or five in the center ready to fly away. During 
the first two measures they run lightly out of the circle, and during the third and fourth, 
they wheel about as they fly. The movement of two running and two wheeling measures 
continues until the tenth measure when the running movement accelerates to the twelfth 
measure. Then they all stop and turning about, hop back into the circle again. 

The game repeats with new players in the center. 

In this game the greatest freedom of action ought to be allowed. 



Elizabeth Rose Fogo. 



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I MVERY VERY- TALL 





'M VERY, very tall, 
Or I 'm very, very small, 
Sometimes tall, sometimes small 
Guess which I am now! 



The children are in a circle with one child in the center who covers her eyes. Some 
one in the circle is chosen to tell them which they are to be — tall or small — at the end of 
the game. As they sing, "I'm very, very tall," they all stretch up as high as ever they 
can. When singing, "I'm very, very small," they make themselves as tiny as possible. 
They stretch up again as they sing slowly — " sometimes tall" • and down with — "sometimes 
small." After a very short pause while the one named at the beginning of the game gives 
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I'M VERY, VERY TALL. 



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20 



HIDE AND SEEK. 

Hide and seek! Hide and seek! 
Oh, you dare not, dare not peek. 
Look and see when you are bid 
Who it is that we have hid! 

The children form in a double circle, with one of their number in the center who 
covers her eyes. While they are walking around and singing, another child chooses some 
couple to hide behind. As they finish singing, all face center and the child on the outside 
hides behind some two who cover her with their skirts. The one in the center must 
guess where the missing child is and then who she is. At the first of the school year, it 
usually causes enough suspense in the game to find the child. Later, the fun is to guess 
who is hidden. 



21 



HIDE AND SEEK. 



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22 



LOOK OUT? 

The children are in a circle with one in the center who covers her eyes. During the 
first three measures they all walk slowly and pautiously toward her, watching to see what 
she is going to do. Suddenly she takes her hands away from her face and they run away 
as fast as they can. (Measures four and five). But they look back and the child in the 
center is just laughing because she frightened them. They turn and go toward her again 
(measures six, seven, eight) . This time they are much bolder and they go faster. On the 
last note of the eighth measure, the center child starts toward them. They run again 
(measure nine). But she laughs at them once more and they all turn (measure ten) and 
go boldly toward her laughing. In the center, they jump up and down as they clap 
their hands with glee. 



23 



LOOK OUT! 



Elizabeth Rose Fogg. 



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24 





HIS is the way my dolly walks, 
This is the way she walks, you see. 

This is the way my dolly runs, 
This is the way she runs, you see. 

This is the way my dolly hops, 
This is'the way she hops, you see. 

This is the way my dolly talks, 
This is the way she talks, you see. 

The children are in a circle. They make themselves very stiff in the joints and move 
like dolls as they go around singing the first stanza. During the second stanza they 
run, and during the third, they hop. At the fourth stanza, they push the spring in 
their chests with great vigor, and many times the words sung are the ones their own dolls 
speak, instead of the ones written above. It is needless to say that the laughing climax 
comes spontaneously at the end of the game. 



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THIS IS THE WAY MY DOLLY WALKS. 

Elizabeth Rose Fogg. 



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II 



26 



JACK AND JILL. 

The children start off in a double circle skipping joyously. They begin quite mod- 
erately but increase in speed until, at the beginning of the tenth measure, they are skipping 
pretty fast and with a very high step. On the fourteenth measure, they all fall down. 
And the "boo hoo" follows in the sixteenth, etc., measures. 

"Jack and Gill" is typical of an experience common to us all. We remember start- 
ing off to school on a fine morning with very clean clothes, with lunch basket filled and 
with such happy hearts that we couldn't help skipping along. But we stubbed our toe — 
it was all over. 



Allegro 



Elizabeth Rose Fogg. 




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28 



THE PUSSY CAT AND THE LITTLE MOUSE. 

The children are in a circle. One is chosen for the cat and another one on the opposite 
side of the circle for the mouse. The cat during the first four measures, comes creeping 
softly and slyly around to the mouse. At the last note in the fourth measure, the mouse 
sees the cat coming and runs away around the circle. The cat chases it, and at the 
eleventh measure, the mouse reaches its place and gets home again, safe at last. 

In characterization we need to remember the very important cat that only frightens 
a little mouse. 

The length of the music is planned for a medium sized circle. If it is necessary some 
measures can be repeated to give the time necessary to run around the circle. 



29 



THE PUSSY CAT AND THE LITTLE MOUSE. 



Mysteriously. 



Elizabeth Rose Fogg. 



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30 




HEY! DIDDLE! DIDDLE!^ 



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URING the first two measures, the children get ready in the circle for the 
play. Sometimes they run, sometimes clap their hands and sometimes 
they jump up and clap their hands. It depends on how excited they are 
at the beginning of the dance. At the third measure, they begin skipping 
around the room. They skip higher and faster with increasing speed 
and greater variation of step until the tenth measure. Then they drop to 
the floor with a sigh of relief. 

This game can never be played in cold blood. It is an expression of certain moods 
that we all know in children. When they are so excited that they cannot stand still, or 
when everybody is beginning to go wild, are familiar enough instances of the times when 
such moods are seeking expression. 

The teacher can, if she is alive to such situations, insert such controlled expression 
as comes to a climax in place of the wild time that often ends in tears. 




31 



HEY! DIDDLE! DIDDLE! 

Elizabeth Rose Fogg. 
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32 



LITTLE MISS MUFFET. 

During the first four measures all the players sit in a circle or a group, rocking them- 
selves and eating very complacently. At the beginning of the fifth measure, they jump 
up and run away in great excitement. 

Two moods are related in this game, — the first, the self-complacent attitude that is 
apt to appear, even in adults, when everything is going smoothly, and the second, the ex- 
citement of the unexpected catastrophe that appears when one is so very comfortable. 



LITTLE MISS MUFFET. 



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Copyright, 1914, by The A. S. Babnes Company. 



34 




The children are in a circle with one in the center to represent the old woman. During 
the first four measures they run excitedly about as if in some game and not paying any 
attention to the one in the center. . At the fifth measure the center player pretends to beat 
them all soundly. They gradually become quieter until the ninth measure when all are 
still, and they are lying down peacefully sleeping at the tenth measure. 

To represent the confusion of the first four measures, it is necessary to have a very 
definite plan of action. Some of the players must go in a certain path following a leader 
and others in another. Until the teacher realizes that the more confused and complex 
the action, the greater the need of definite organization, it is better not to attempt this type 
of dramatization. On the other hand, it is one of the most vivid ways of training the 
expression of changed moods. 



35 



THERE WAS AN OLD WOMAN. 

Elizabeth kose Fogg. 
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36 

NUTS IN MAY. 

1. Here we come gathering nuts in May, 
Nuts in May, nuts in May. 

Here we come gathering nuts in May 
So early in the morning. 

2. Whom will you have for nuts in May, 
Nuts in May, nuts in May? 

Whom will you have for nuts in May, 
So early in the morning? 

3. We will have (Mary) for nuts in May, 
Nuts in May, nuts in May. 

We will have (Mary) for nuts in May 
So early in the morning. 

4. Whom will you have to pull her away, 
Pull her away, pull her away, 
Whom will you have to pull her away, 
So early in the morning? 

5. We will have (Jane) to pull her away 
Pull her away, pull her away. 

We will have (Jane) to pull her away 
So early in the morning. 

The children form in two lines about six or seven feet apart. The first line walks 
toward the second during the first four measures, singing : 

"Here we come gathering nuts in May 
Nuts in May, nuts in May." 

They walk backward to their starting place during the next four measures singing: 
"Here we come gathering nuts in May, 
So early in the morning." 

The second line then walks toward the first line on the first four measures, singing: 
"Whom will you have for nuts in May, 
Nuts in May, nuts in May?" 

They walk backward on the next four measures as they sing : 
' ' Whom will you have for nuts in May 
So early in the morning?" 

The first line continues with the third, and then the fifth stanza and the second with 
the fourth. 



37 

At the end of the fifth stanza, the two players (Mary and Jane) chosen come out 
between the lines. They join right hands and place one foot against a chalk mark on 
the floor to see which can pull the other across the line. (The teacher needs to control 
this by signal; i.e., counting one, two, three). The one who succeeds takes the other child 
to join her line as an added player. 

The game now repeats with the second line, beginning and singing stanzas one, 
three and five. This, of course, gives the second line the choice at the end of the game. 
The game continues in this alternating manner until one side has added a certain number 
of extra players. Dramatically, the game is over as soon as one side is thought to be 
stronger than the other. 

Old English. 
NUTS IN MAY. 




Marcia. 



Harmonized by Elizabeth Rose Fogg. 



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38 



THREE LITTLE SHIPS. 

1. Three little ships came sailing by, 
Sailing by, sailing by, 

Three little ships came sailing by, 
On Christmas Day in the morning. 

2. And what was in those ships all three 
Ships all three, ships all three? 

And what was in those ships all three, 
On Christmas Day in the morning? 

3. Our Savior Christ and his Ladye, 
His Ladye, His Ladye, 

Our Savior Christ and his Ladye, 
On Christmas Day in the morning. 

4. And whither sailed those ships away, 
Ships away, ships away? 

And whither sailed those ships away, 
On Christmas Day in the morning? 

5. Oh, they sailed into Bethlehem, 
Bethlehem, Bethlehem. 

Oh, they sailed into Bethlehem 
On Christmas Day in the morning. 

6. And all the bells on earth shall ring, 
Earth shall ring, earth shall ring. 
And all the bells on earth shall ring, 
On Christmas Day in the morning. 



Old English. 



The players form in two lines a few feet apart. The first line walks forward toward 
the second, singing: 

"Three little ships came sailing by, 
Sailing by, sailing by," 

The line then walks backward to place singing : 

"Three little ships came sailing by, 
On Christmas Day in the morning." 



39 



The second line now walks forward toward the first singing: 
"And what was in those ships all three, 
Ships all three, ships all three?" 

This line walks backward to place singing: 

"And what was in those ships all three, 
On Christmas Day in the morning?" 

The first line continues with the third stanza and also the fifth in the same manner, 
while the second line carries the fourth stanza. At the sixth stanza the children all join 
hands as they skip around in a large circle and sing in unison. 



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THREE LITTLE SHIPS. 

Harmonized by Elizabeth Rose Fogg. 

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Copyright, 11U4, by Tiie A. S. Barnes Company. 



40 

THE SLEEPING BEAUTY. 

Characters: 
The Princess 
The Prince 
The Fairy 
The Courtiers 
The People 

The children are in two circles. The princess stands in the center; the courtiers are 
in a small circle around her and the people in the larger circle outside. The prince and the 
fairy are outside the large circle. 

1 . The circles move around in opposite directions. 

The princess is so beautiful, beautiful, beautiful, 
The princess is so beautiful, so beautiful. 

2. The children stand still and lift the forefinger warningly at the princess. 

Oh, little princess, have a care, have a care, have a care, 
Oh, little princess, have a care of a wicked fay! 

3. The fairy breaks through the circle and goes to the prince. 

There came a wicked fairy there, fairy there, fairy there, 
There came a wicked fairy there and said to her, 

4. The princess falls down asleep and the courtiers follow her. The fairy sings: 

Princess! sleep for a hundred years, hundred years, hundred years, 
Princess! sleep for a hundred years and all of you. 

5. The children in the outer circle now join hands and raise them high to form a 
hedge. 

And a great hedge stood up giant high, giant high, giant high, 
And a great hedge stood up giant high to guard them all. * 

6. The prince breaks through the hedge and goes to the princess. 

Then came a prince unto this place, to this place, to this place, 
Then came a prince unto this place, and said to her. 

7. The prince sings: 

Oh little princess, lovely maid, lovely maid, lovely maid: 
Oh little princess, lovely maid, awake and arise ! 

8. The prince lifts up the princess, the courtiers form in couples and those in the 
outer circle step backward. 

The little princess then awoke, then awoke, then awoke, 
The little princess then awoke, to be his queen. 



41 

9. The prince and princess walk around the circle followed by the courtiers. 

Then was held a wedding feast, wedding feast, wedding feast, 
Then was held a wedding feast, a wedding feast. 

10. The prince and princess with the courtiers dance in the center and those in the 
large circle skip about them. 

And all the people made merry then, merry then, merry then, 
And all the people made merry then, through all that land. 

Old German. 



THE SLEEPING BEAUTY. 

Harmonized by Elizabeth Rose Fogg. 



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42 



THE GINGERBREAD MAN. 

1. I've run away from a little old woman, 
A little old kettle, and a little old man. 
I 've run away from a little old woman, 
And away from you, I can, I can. 

2. I 've run away from the men that thresh, 
And I 've run away from the men that mow. 
A little old woman, a little old man, 

And away from you, I can, I can. 



FOX 




The threshers (o) and the mowers (x) form a double circle with the little old woman 
(1), the gingerbread man (2), the little old man (3), and the fat rolling kettle (4), in the 
center. During the first part of the music .(8 measures) all the characters are busily 
engaged in the several occupations; the little old woman is kneeding the dough and the 
old man is watching her, while the threshers and mowers are at their respective tasks. 
At 'the fifth measure of the music, the gingerbread man leaps up and runs away followed 
by the woman, the man and the kettle. As he passes the circle of threshers, they turn 
and run after all the group, and as he passes the mowers in the outer circle, they, too, do 
likewise. As the gingerbread man runs away from them all the fox comes forward and 
catches him. Then the first music is repeated slowly while they all go back to their 
places and their work (8 measures). During the second part of the game the children 
may sing or not as seems best. 



43 



THE GINGERBREAD MAN. 



Elizabeth Rose Fogg. 



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44 





HE leaves are green, the leaves are brown, 
They hang so high, they will not come down. 
Leave them alone till the frosty weather 
And then they will all — come down together! 



V 



The children are in a circle. They reach up as high as they can while they are singing 
the three and one-half lines. When they come to the words "come down together" 
they all fall to the floor very fast — "they just drop," as one child said. 

The game is a good one to illustrate the prominent thing that children enjoy in the 
leaves — the falling to the earth. And in their own dramatic way of telling stories by act- 
ing the contrasting elements, they just do it. 

Old English. 




45 



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46 



THE LITTLE LEAVES. 

Round and round and away we go, 
Here and there and yonder! 
Round and round! Oh, see the snow! 
Round and round — and under. 

The children are in a circle. During the first three and one-half measures, they run 
forward lightly, turning around twice in each measure. During half of the fourth and the 
fifth measures, they leap and go forward with three high, light running steps. They 
stop suddenly on the sixth measure, holding themselves poised as if to dash on again. 
But the end has come, and during the seventh and eighth measures they whirl slowly into 
the center of the circle and all softly sink down to the floor. 

The words are given to suggest the necessity for definite thought in the actions. 
Children should not attempt to sing them while dancing, but they might say them softly 
to themselves until the thought is definitely portrayed through the action. This game 
follows "The Leaves are Green" in complexity of plot and development of the suggestion 
of the leaves that come and go before the winter and the snow. The teacher, as in others 
mentioned, can, however, attempt to pull too much out of it or teach it as mere gymnastics, 
barren of any thought. It is suggested that the middle course be tried. 



47 



THE LITTLE LEAVES. 



1 Allegretto. 



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48 



LEAVES AT PLAY. 



The simplest form in which this may be danced is in a large circle with all the children 
moving around in the same general direction. 

During the first measure, they run forward six fast little steps, during the second 
they turn around twice. (The whirl is made by lifting the body high on the toes and 
running around with the arms lifted to balance). The third and fourth measures are the 
same but with a little greater speed and more emphasis. During the fifth measure, they 
run forward three steps and leap upward. This movement repeats during the sixth and 
seventh measures. At the eighth measure, they run forward three steps and whirl around 
once. During the ninth, tenth, eleventh and twelfth measures they continue whirling 
twice in each measure and moving forward with each turn, as the speed and range of 
movement increase. (The best dancers will vary in number and speed of whirls) . On the 
thirteenth and fourteenth measures the turning becomes slower and less regular, and on 
the fifteenth and sixteenth the children gradually change to swaying rather than turning 
about. During the seventeenth to twenty-first measures, the movement of the first four 
measures is repeated but with less emphasis and more softly, — the impulse has been 
partly lost. On the twenty-first measure they run as in the fifth and attempt to leap, 
then during the last three measures they whirl slowly, sinking lower as they move until at 
the end they have all fallen quietly to the floor — the leaves are still. 

No two children will ever be exactly alike in mood, and consequently will vary in 
their expression. The important thing is that they show in face and body that they 
feel the lovely, light, floating mood of the dance. The danger is that certain "steps" 
will be taught in just this or that manner,— then the dance will become "Dead Leaves." 

After the dance has been learned in circle form, it will be interesting to let the children 
place themselves in groups and so get, with greater freedom, a little nearer the mood that 
they are trying to capture in their expression. This dance has been so well executed 
that the suggestion of the loveliness-that-passes was most beautifully realized. 




Allegretto. 
1 



LEAVES AT PLAY. 

2 tr tr 3 



Elizabeth Rose Fogg. 
4 tr tr 







Copyright, 1!U4, by The A. S. Baknes Company. 



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50 



FIREFLY DANCE. 

"Saw the fire-fly, Wah-wah-taysee, 
Flitting through the dusk of evening, 
With the twinkle of its candle 
Lighting up the brakes and bushes, 
And he sang the song of children, 
Sang the song Nokomis taught him: 
Wah-wah-taysee, little fire-fly. 
Little, flitting, white-fire insect, 
Little dancing, white-fire creature, 
Light me with your little candle, 
Ere upon my bed I lay me, 
Ere in sleep I close my eyelids!" 

The children may be in a circle, but it would seem better to try such a dance as this 
by letting a little group move freely about, then let other children try it in small groups, 
until all are on the floor and playing in groups that are related in the action and in the 
movement. Irregular regularity is the key-note of such concerted movement. 

During the measures one and two, the children take four walking steps. These are 
light, high on toes, and fairy-like. During the third measure they leap, then turn from 
side to side, looking about with quick little darting glances; repeat on the fourth measure. 
On measures five and six they whirl as they run forward, then stop suddenly as they 
look around. This movement repeats on the sixth and seventh measures. During 
measures eight to twelve, they all run two very short steps and stop. This movement 
should be irregular, however, and yet light in character. It ought also to cover a good 
deal of space as it is the climax of the dance. During measures twelve and thirteen they 
step, then pause, step again and pause, and during fourteen and fifteen whirl in a little 
circle and then pause. Measures sixteen and seventeen repeat twelve and thirteen. All 
run away on the last three bars of the music. 

This description is only a suggestion of the thing we are after — the darting, fairy- 
like quality of the twinkling firefly. It comes and goes before us and the child may catch 
a suggestion that probably should not be brought to any more definite form until much 
later. When, however, the child glimpses the significance of such a personification, the 
crime of all crimes in education, is that we teachers are blinder than those we attempt 
to guide. 

And what is this suggestion, and what does it lead into? If anything worth while, 
some day it ought to carry us over in thought and feeling to those fireflies of the imagina- 
tion, those fairies that go, — 



51 



"Over hill, over dale 
Through bush, through briar, 
Over park, over pale, 
Through flood, through fire, 
I do wander everywhere 
Swifter than the moon 's sphere ; 
And I serve the fairy queen, 
To dew her orbs upon the green. 



Shakespeare. 



To force such a suggestion of which this is only a germ, upon the little child, or to 
teach the dance in the formal gymnastic fashion, would reveal the teacher as blind to 
the thoughts, feelings and actions of little children. 

FIREFLY DANCE. 



-. Allegro. 



Elizabeth Rose Fogg. 
Indian. 



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52 



LULLABY FROM" HIAWATHA." 

Ewa-yea! my little owlet! 

Ewa-yea! my little one! 

Who is this that lights the wigwam? 

With his great eyes lights the wigwam? 

Ewa-yea! Ewa-yea! my little one! 

The lullaby is given in two keys; as the lower key seemed better fitted to express the 
Indian quality. The melody has been written in a higher key in case the first is thought 
too low for children 's voices. 



53 



LULLABY. 



Elizabeth Rose Fogg. 
Indian. 




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54 




The children are in a line all facing in one direction and they play that their shadows 
are either to the right or the left of them. 

During the first measure, they walk slowly four steps forward watching to see the 
shadows move. On the second measure, they dash forward with little short running steps 
till the last note, then they turn and look for the shadows again. On the third measure 
the movement repeats. During the fourth and fifth measures, they all turn to face the 
shadows and try to step on them — four very emphatic steps. During the sixth measure, 
they turn as at first, stretch to make themselves very tall and run forward very fast. 
At the seventh measure they make themselves as small as possible and run again. During 
the eighth and ninth measures, they turn and try to jump through their shadows with 
four long jumps. Beginning with the tenth measure they all turn around, back to 
shadows and walk proudly away, without one look behind. 

This little dance goes with much humor, for all children have tried these things over 
and over and their enjoyment in telling the story is full of the mischief that anticipates 
the end of it all. 



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A SHADOW DANCE. 



Elizabeth Rose Fogg. 



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56 



THE LAMBKINS GAMBOL ON THE GREEN GRASS. 

The children may be in a circle or they may be in several groups or small circles. 
Any one who has seen little lambs skipping about with their stiff, wobbly legs knows how 
children enjoy the humor that the dance expresses. If children have never seen lambs 
playing, have them play "stiff in the joints" and the dance will come of itself. 

During the first measure all take two running steps and leap up from the floor, 
landing with very straight legs. Repeat to fifth measure. During the fifth, sixth, 
seventh and eighth measures, all take three short running steps, then one little leap, one 
step running and a big high leap, and down again stiff and wobbly. During the ninth 
to fourteenth measures, all run — run — run and leap high in air. Repeat during thirteenth 
to eighteenth measures. During measures seventeenth and eighteenth, all leap up and 
turn either right or left as they come down. Repeat on eigtheenth and nineteenth 
measures. During measures twenty to twenty-four, all jump directly upward three 
times in succession coming down with stiff legs as before. 

The humorous quality of this little dance will be greatly enhanced by placing the 
groups rather irregularly about on the floor. 1 



THE LAMBKINS GAMBOL ON THE GREEN GRASS. 

Count 1 in a measure. Elizabeth Rose Fogg. 



Allegro. Well accented. 



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DANCE OF THE MARIONETTES. 

One is in the center with the others grouped around him. During measures one and 
two all in the circle dance forward, hopping twice on each foot, with the arms bent stiffly, 
and with the free foot raised forward like a wooden leg. During measures three and 
four all dance backward, either in the same manner, as above, or hopping on both feet. 
During measures five and six, they all dance to the center again and this time the leader 
in the circle takes the one in the center and dances him back with them all, during measures 
seven and eight. Then all form in couples with arms very stiffly joined at elbows (this is 
done by crossing the forearms). And all dance around the circle with the same step as at 
first during measures eight to eighteen. During measures seventeenth to twenty- two, 
all face partners, join right arms and dance around each other with a step and hop on 
one foot while the free foot is swinging forward stiffly. On the twenty-first measure 
change arms and dance left around partner. At the last measure, all face center and 
jump high as possible. 



59 



A DANCE OF THE MARIONETTES. 

Allegro. Staccato. Well mfMced. Count two in a measure. Elizabeth Rose Fogg. 






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61 



THE LITTLE RABBITS. 

Characters: 
The Fox 

The Little Rabbits 
The fox is sitting watching the rabbits who are huddled together on one side of the 
circle. During the measures one and two, the fox stands and sends the rabbits to do his 
bidding. 



°° D RABBITS 



During measures two and four, the rabbits hop across to get sugar cane. During 
measures five and six, they are attempting to break it with great effort. During measure 
seven they all stop and listen. During measures eight and nine, played the first time, 
they gnaw with great gusto, and hop back home on the repetition of the music. 

There is a pause — the fox is thinking what next to do and the rabbits are watching 
him. During measures ten and eleven, the fox sends them out again. The rabbits hop 
away during measures twelve and thirteen. During fourteen they lift the sieves high, 
and repeat during fifteen. They all stop and listen to the bird singing during the sixteenth 
measure. They lift the sieves high again during the seventeenth, and all hop back 
home during the eighteenth and nineteenth measures, carrying the water carefully in 
their sieves. 

There is another pause like the first. The fox then angrily sends them out again 
during the twentieth and twenty-first measures. During the twenty-second and third 
measures, the rabbits hop out again. During the twenty-fourth, fifth and sixth, they 
pull and haul in all directions, then stop and listen for the little bird to sing. During the 
twenty-seventh, eighth and ninth, they all push the log home together, turn and look at 
the fox who, as he watches them coming, gets ready to go, and during the thirteenth 
measure he sneaks out. Then during the last five measures they hop about the circle 
with great glee. 

This dance can well begin with the log-rolling episode when it is too difficult for the 
children to carry so many incidents in mind. In that case the music begins at measure 
twenty. The dance should never be attempted before the children know the story. 



62 



THE LITTLE RABBITS. 



Part I. 

Very heavy. Slowly. 




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Elizabeth Rose Fogg. 
Lightly. Entrance of Rabbits. 
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65 



THE LOBSTER QUADRILLE. 

Part I. 

The children form in two lines. During measures one and two, the two lines walk 
to the center; and walk backward to place during measures three and four. During 
measures five and six they cross to the opposite side, passing right as they meet and 
turning to face the center at the end of the sixth measure. During measure seven they 
walk to the center, pass each other in the lines and on the eighth measure turn toward 
center and make a mock courtesy. During measures nine and ten they join right elbows 
with the one in the line opposite and skip about each other; then change arms at measure 
eleven and skip about to the end of the twelfth measure. 

PART II. 
Both lines now turn and face in the same direction as illustrated: 
2xxxxxxx 
10 

During measures thirteen to seventeen, line number two pursues with a fast walk 
line number one and all finish with a big jump at the end of the sixteenth measure. 
During the seventeenth and eighteenth measures all turn about and walk slowly to place. 
During measures nineteen and twenty, they courtesy slowly and mockingly toward the 
opposite line, and during measures twenty-one and twenty-two, turn slowly around away 
from the partners opposite, shaking their heads as they refuse to dance with them. 

PART III. 

During the twenty-third and fourth measures, line number two walks across to line 
number one. During measures twenty-five and six, they all bow. During the next 
measures till the thirty-second they all face to go around in a circle and promenade, 
skipping grotesquely. During the thirty-second and thirty-third measures, they face 
partners, join right elbows and skip around each other, and during the thirty-fourth and 
thirty-fifth measures they join left elbows and skip about in the opposite direction. 

The directions given are the simplest possible. If the teacher will read the poem 
with the thought of the humorous pantomime suggested in it, she will see how to get the 
children to playing the game with a very great amount of amusement and delight. Such 
a dance will develop spontaneously if the children have done any constructive work in 
their dancing. 



66 



THE LOBSTER QUADRILLE. 



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69 



THE SHOEMAKER 



AND THE ELVES 



Characters: 
The Shoemaker 
The Shoemaker's Wife 
The Customers 
The Elves 

The shoemaker is busy over his shoes at the end of the day. He is very tired and 
discouraged. Measures one to five. At the beginning of the fifth measure, he puts by 
his work and slowly goes home. Measures five to nine. During measures nine to sixteen 
he comes back to his work the following morning, still feeling very discouraged. Suddenly 
he sees shoes before him all made and placed ready to sell. Measures seventeen and 
eighteen. During the repeat of these two measures he starts off to get his wife to show 
her the strange thing that has happened. During measures nineteen to twenty-three, 
he brings in the wife and they talk wildly over it all. But before they have time to look 
around they see two customers entering the store. Measures twenty-three to twenty- 
seven. During measures twenty-seven to thirty-five, the customers are bargaining for 
shoes and finally buy. They go out on measures thirty-five to thirty-nine. During 
measures thirty-nine and forty the shoemaker and his wife get more leather and leave it 
ready to use. Then they hide to see what will happen. Measures forty-one, two, three 
and four. During the measures forty-five, six, seven and eight, the elves come running 
in, they scamper about and watch to see if anybody is in sight. Then they see the leather 
all ready cut and run to it. During the measures forty-nine to fifty-three, they sit down 
in front of the leather, pick it up and wag their heads about it, then decide that they will 
make the shoes. During the measure fifty-three, they wind the thread over right, on 
fifty-four over left, on fifty-five, they pull the thread, and on fifty-six, they pound the 
shoes three times. These movements are repeated twice. Measures forty-nine to fifty- 
three are played again as they put the shoes down, pat them here and there, then jump up 
and clap their hands. During measures fifty-seven to sixty-one, they dance, galloping 
around the circle and quite forget the danger. But suddenly they are on guard again 
and run away looking backward and hiding as fast as they can. 

The shoemaker and his wife now enter. Measures sixty-five, six, seven, eight. 
They are much amused at what they have decided to do. They get cloth and go to mak- 
ing clothes for the elves. Measures sixty-nine to seventy-seven. During measures 
seventy-seven and eight they run and hide again and watch to see what will happen. 
Measures seventy-nine to eighty-three. 



70 




The elves enter again, dancing about, without being so cautious. Measures eighty- 
three and four. Then they are surprised and stop to look at what has happened. Measure 
eighty-five. Quick as ever they can they jump into the clothes they find. Measures 
eighty-six to ninety. During measures ninety to ninety-seven, they dance about in great 
glee looking at themselves and at each other. In the meanwhile 
the shoemaker and his wife have become so curious that they have 
stepped out in sight at measure ninety-six. The elves all dance 
away and disappear. Measures ninety-seven to the end. 

The two dances of the elves are the parts of this drama to teach 
first. They may be taught to children who are too small to cany 
the whole plot in mind. The small drama is an experiment. The 
music is arranged from old folk-melodies and it is worth trying 
to see how many children can carry a story in mind before they 
can get the words to tell it. But as soon as children wish to use 
dialogue, it is always better to use it instead of pantomime. 




71 



THE SHOEMAKER AND THE ELVES. 



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rrfie~Brownie £ 



the Chernv Tree 




Characters: 
The Gardener 
The Brownie 
The Children 

All the characters are standing at the side. During the first two measures the 
gardener comes in with the children following and all trying to be very good. The 
gardener turns and goes out during measure three. During measures four, five, six and 
seven, the brownie comes running in and scampers about, the children watching him as he 
laughs and dances. He runs up a tree and disappears during measures eight and nine. 
The children begin picking up cherries and filling baskets, dodging and laughing as they 
do it. Measures ten, eleven, twelve. During the thirteenth measure, they stop and 
look at the brownie who stands laughing in their midst. He runs in front of them, 
dances around the center and they all follow in great glee during measures fourteen, 
fifteen, sixteen and seventeen. Then they stop very suddenly and are frightened for 
they hear the gardener coming. The brownie runs away and the gardener enters during 
measure nineteen. They all sit down very quickly and hold their cherries up to him, look- 
ing very, very good. 

This dance depends upon the good acting of the child who plays the brownie. Chil- 
dren play it all with great spontaneity for the situation represents a common experience. 



THE BROWNIE AND THE CHERRY TREE. 

Elizabeth Rose Fogg. 
Slowly and sweetly. Ent. of children and gardener. 




4 Allegro 




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Copyright, 1914, by The A. S. Baknbs Company. 



77 



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